Sorry, Uncle Stevie
In complete violation of Stephen King's rules on writing, I watch film and television and let their influences wash over me. Living in a bubble away from the world won't help me grow as a writer or, more importantly, a person. Culture isn't just opera and art museums. So, without further ado, this is what I've immersed myself in this year.
#1. Deux Jours, Une Nuit
A French film to kick it off. How snobby. Deux Jours, Une Nuit was one of those films I'd heard about, knew the basic idea, and felt like there was a hum coming from it. Emphasis on the word hum. Not buzz. A buzz would be too loud. What La Vie en Rose had would be buzz, another film from French actress Marion Cotillard. Now the story was fairly simple. A woman named Sandra who was suffering from depression and had to take leave from work is suddenly faced with the possibility that she will lose her job. A meddling foreman pressures the employees to choose a nice bonus over their colleague in hopes that Sandra will be fired and the economic burden on the company will be lifted. However, instead of simply terminating her, they put it to a vote, but when the vote is compromised by the aforementioned foreman, Sandra manages to ask for a recount and has two days and a night (or, in French, deux jours et une nuit, as the title suggests) to get the votes together for the secret ballot on the Monday morning. To put it mildly, the film itself is the same conversation a dozen times. There is very little substance past that. But it is the emotion you feel pouring out of its actors that will determine if you like the film. If you can sense the rawness from each performance, the desperation and the sorrow and the surprising moments of joy and everything else all mixed in, then you stand a chance of enjoying it. Deux Jours, Une Nuit is a slice of life film and I don't think it will appeal to everyone, but I think that, if you're the type of person willing to sit down and read the subtitles (or simply watch and understand, if you're Francophone) for an hour and a half, then you stand a pretty solid chance of enjoying it.
#2. Inside Amy Schumer
In an act of true generosity, the first DVD release for this show includes both the first and second season. It is a variety show, something that normally wouldn't appeal to me and simply scare me off. But I figured I'd give it a shot. I already knew Amy -- slightly acquainted but not well versed, I'd say -- from her time on Last Comic Standing . Her show combines sketches, some of which are perfectly honest and others that are spot-on satires, with her edgy stand-up and hilarious interviews with both people on the street and professionals from different walks of life. On the first disc alone, Amy interviews a plastic surgeon, a professional dancer, a stripper, an ex-cop turned bodyguard, a supermodel, and the, uh, proud owner of Mr. Manhattan. Of everything this show offers, my favourite parts are always the interviews, which are categorized under the wink-wink section of the show entitled "Amy Goes Deep." If she were to spin off that section of the show alone, I would watch every bit of it. So, to put it bluntly, I've found a variety show that I can not only tolerate but actually derive pleasure from, which is no small feat. As for Amy? Well, with a show like this and a film like Trainwreck, the force is strong in this one.
#3. Fifty Shades of Grey
Boy, nobody wanted this adaptation made, did they? Well, I did not read the books and have no intention to do so, but I must praise Dakota Johnson for her nuanced performance here. (I just reread what I wrote. It sounds sarcastic, but I promise it's not.) The Christian Grey character felt weak, which is not what you want from this type of character. He should be strong and imposing and tall, dark, and handsome, and . . . just not that actor at all. Dakota gives oomph to her character. Without her, the film would be -- ahem -- flaccid. (I get one joke. Give me at least one!) From the reaction of audiences, the Fifty Shades movie wasn't the sex fantasy everyone had hoped for, hindered by an R-rating, but by taming down the S&M, I enjoyed the softer side of their relationship. The more emotional undercurrents showed a little, which I think was beneficial, and I think most viewers would have responded to that, had it been any other movie but this one with all its panty-dropping hype. And I love the soundtrack. A good soundtrack is key to set the mood. I think it was able to do just that for Fifty Shades of Grey. Overall, I think it's a great start to the trilogy (I assume that they'll make all three films, but who knows? I've been fooled before) and I will definitely watch the next one.
#4. The Boy Next Door
Oh, wow. The less said about this one, the better. I'm almost embarrassed to have admitted watching this. And I just said how much I liked Fifty Shades of Grey. The Boy Next Door is so bad that I have nothing to say. I feel bad for J. Lo. for being in it. I long for the days when she was in tasteful thrillers, like Out of Sight . The Boy Next Door is boring and slow and ridiculously overslathered gunk. I recommend that nobody watch it. You can't get that time back.
#5. Scarface
Believe it or not, I had never seen Scarface. I know that is sacrilege in some circles. I do apologize. Scarface is one of those films where so much has already been said that I feel I have nothing to add. Here are my two cents (with inflation, worth less than one cent in today's dollars): It is a classic, no question, but with classics, I expect a serious tone. Sure, the story to Scarface is serious, borderline heartbreaking at times, but you can't deny that there is an unintentionally hilarious streak running through it, owing to Pacino's over-the-top performance as Tony Montana. I absolutely enjoyed it with my only complaint being that the ending is severely abrupt. I know everyone loves the ultra-violent ending. Again, sacrilege. But I'd already seen it -- hasn't everybody? The ending is so widespread in pop culture that everyone knows it by the time they get around to watching the film as a whole. But I won't drag down Scarface. No, I think anyone who can handle the language and drug use and violence will probably enjoy it.
#6. What Lies Beneath
What Lies Beneath was recommended to me as one of the great forgotten horrors. It's spooky, not stupid, or so I was told. You want it straight? I was lied to. My disappointment was apparent. I insist that there is a good movie buried in there. Unfortunately, it's buried deep. Instead of being a psychological drama or even simply a run-of-the-mill thriller, What Lies Beneath falls victim to a lot of spooky hooey and choreographed jump scares. Editing and a few rewrites may have solved the whole debacle. I even started rewriting the script myself. There is a car accident leading the protagonist Claire to lose her memory. Claire also happens to be a former musician, classically trained and once brilliant. But the story mentions the latter fact and then does nothing with it. Considering the suspense the film wanted, I thought they could have tied together these facts. As Claire is slowly remembering what happened, she could have started playing her instrument again. Bit by bit, she remembers; note by note, she plays. What a missed opportunity. And it all seems to build up to those last few thrilling minutes of the film, which suddenly become plagued with ridiculous resolutions, magical ones that are impossible in reality. The film was already damaged goods by this point. Why injure it even more? Now, I love Michelle Pfeiffer, and I always will, but what a stinker. Let's pretend What Lies Beneath never happened.
#7. Big Eyes
I was excited when I saw this trailer. Amy Adams is going to win an Oscar, I said. So when I had the opportunity to sit down and watch Big Eyes, I was ready. Maybe, this time, it's not the film's fault, but mine. My expectations were too high. We have an expression in my family -- you "Junoed" it. Juno , the 2007 film, was met with acclaim. I watched it; I liked it; I told everyone how great it was and how much they would love it, too, if they saw it. But when they did, they were expecting Citizen Kane . Juno could never meet their expectations. Hence, every time I oversell something, I've "Junoed" it for someone else. And this time, I "Junoed" Big Eyes based on one measly trailer. Big Eyes was interesting but not riveting. I felt sympathy for the artist Margaret Keane (especially with the knowledge that she is real, a person who suffered through this denial of her worth) and disgust at the behaviour of her money-grubbing husband, but it just didn't speak to me on an emotional level. I was greedy. I just wanted more, more, more from the film. Perhaps I'm just dead inside. Who knows? In the end, I didn't feel as invested in Big Eyes as I had hoped to be.
#8. Coneheads
Take what happened with Big Eyes. Now reverse it. Voila. This is Coneheads. Have you seen the cover for Coneheads? It tells you nothing. You see a man, a woman, and a teenage girl . . . and they have coneheads. That's it. So, it's about a family. That's all I had to go from. I wasn't exactly chomping at the bit. So, with a frown, I sat down and was ready for a disappointing Netflix experience. My bar was so low that Coneheads couldn't lose. Yet it surprised me. It wasn't the slime at the bottom of the barrel. It was light and fun and breezy and entertaining. I'm not the biggest Dan Aykroyd fan; I don't like Ghostbusters , despite multiple viewings. But I love Jane Curtin. And together, the two play excellent alien parents. (The coneheads are aliens!) They come to Earth and, without really cloaking their appearance, they fit in with their co-workers and neighbours. They have a baby. They get a house. No one notices their oddities except for Immigration. Coneheads is sweet and heartfelt; I laughed at the jokes and liked the characters. If you can suspend your disbelief that no one calls them out on being weird-looking, then I think you could enjoy this film, too. Coneheads has that wonderful laidback comedy feel of late-eighties/early-nineties films. Maybe if I'd watched SNL more, I would have had some sort of clue as to the film's plot or tone. Be willing to put aside your preconceptions for this one. Coneheads was a hit for me. I don't care what Rotten Tomatoes says.
#9. Still Alice
Alzheimer's disease terrifies me. Still Alice is more of a horror film than anything I can think of that's been released in recent years. The film explores the range of human emotion when an Alzheimer's diagnosis is given. You're not losing the person physically, but mentally they vanish. It is a different kind of death, a different kind of grieving, and it is an incurable kind at that. It's only getting attention recently, thanks to some brave outspoken people, like Seth Rogen, who are willing to rally for it where it matters. But let's go back to the movie. Played legitimately, Julianne Moore gives life to Alice Howland. As an audience, we're watching a person who has built their life around their intellectual prowess crumble bit by bit, having to learn to be somebody else, not the smart one, not the bright spark, but a person with a new kind of worth. You feel like a burden and then you forget yourself completely. You're lucid and then you're not. It is a complicated tightrope to do a performance like this, but Julianne does it with ease. No wonder she won the Oscar. I love Julianne and, although it's not my favourite performance of hers (I am guilty of enjoying Nine Months a little too much), it is definitely one of her best. I enjoyed Still Alice because of her and would eagerly recommend it.
#10. Bob's Burgers
I'm fed up with Family Guy. Often aired together as an animated hour or two of laughs on TV, I was afraid that Bob's Burgers would be like Family Guy. It isn't. They're nothing alike. They both deal with families, but that's where the line is drawn. A quick rundown: Bob Belcher runs Bob's Burgers, a greasy spoon restaurant, and he does it with the help of his family. That includes his supportive wife Linda and their three children, Tina, Gene, and Louise. The children are usually the weakest part of family sitcoms, but that is far from the case on Bob's Burgers. Tina is the eldest of the three, dealing with puberty while being overwhelmingly awkward in social situations. She encapsulates the ridiculous behaviour of a teen without annoying anyone. She tries the trends, including dance fighting and slow dancing. She's fairly realistic, whether we care to admit it or not. Gene is the middle child, a rambunctious boy who likes loud noises and big messes. Still, he tries to do his best. Then, there's Louise, the youngest child who is wise to everything. Her precocious mouth gets them into trouble sometimes since she uses her innocence to wreak havoc on those who don't know any better. She often changes the menu to include foul language and even brings home the school counselor with tall tales of a rocky family life. I loved the first season and plan on indulging in the rest soon. For anyone who wants a taste of the show but isn't ready to sit down and watch it from the start, I recommend the episode, "Crawl Space," in which Bob hides in between the walls of his home to avoid visiting with his in-laws. This episode is so well crafted, filling every second with content and carefully tying in every character to avoid lazy B-plot. It even turns into a parody of The Shining at one point. Who can say no to that?
#11. Orange Is The New Black
Like everybody else, I love Orange Is The New Black. I loved Weeds, Jenji Kohan's first foray into women who go a little bad because of their circumstances. Orange Is The New Black is just as good, if not better. Piper Chapman, the supposed main character, is just a way to tell the stories of all its other characters, which the second and third season of the show made abundantly clear. Jenji even admitted herself that this was her plan all along. I watched the third season, which felt less exciting after the craziness of the sophomore showing, and since I liked it so much, I went back and watched season two again. What a great show. I won't say anything about it for those few who aren't already watching it. I'll just recommend -- nay, insist -- that you see it for yourself.
#12. Masters of Sex: Season Two
I loved the first season of Masters of Sex. What a clever show, I thought. It's like a naughty Mad Men. Then, I watched the second season. It felt shaky and undecided. Everybody I loved from the first season had evaporated. Masters and Johnson weren't enough to sustain me. The finale was okay, but it felt like it was pandering, trying to hold my interest with stupid cliffhangers until next season. I didn't go for it. I may or may not watch the premiere of the third season, but frankly, I don't really care anymore.
#13. The Mindy Project: Season Three
Are you kidding me? The series got cancelled this season and on what is arguably its most cliffhanger-heavy finale ever. If it had been cancelled after the second season, everything would be hunky-dory. But no. They chose this season to call it quits. Now, there is talk of a web series, but who knows how true they'll stay to the original? The adventures of Danny and Mindy had me absorbed. I loved Rhea Perlman's return to TV as Danny's overprotective mum. I liked Stephen Colbert's guest performance as Danny's priest. There was so much going on this season with Mindy alone that there was no room for cancellation. But the network didn't care and axed it anyway. Fingers crossed that the web series is just as good and that nothing -- and no one -- gets lost in the shift. Whoa nelly.
#14. Will & Grace
I watched Will & Grace reruns on occasion and often out of order. So, now I decided to start from the beginning and watch it as it was meant to be seen. I find that I've loved a lot of shows that I used to hate by going back and watching them from the beginning; Seinfeld and the American version of The Office are two examples of shows that I ended up buying all the seasons to do just that. Will & Grace is funny always, but to get its full impact, it is meant to be seen in order. This especially becomes true at the end of the third season with storylines that carry into the fourth season and beyond. Their past adventures in the early seasons influence their actions, attitudes, and decisions in the later seasons. As one of the groundbreaking shows of the late nineties and early noughties, I respect this show for what it did, bringing laughter and joy as well as enlightenment to millions.
#15. Mom: Season One
I'm not sure whether to count this one. I've watched some but not all of the first season of Mom. In a book I wrote, Reel Talk: Irreverent Insights on Cinema and Television, I dove head first into Chuck Lorre's programming, but at the time, Mom wasn't even on the radar. So, when it came out, I was slightly curious. It was mostly for Allison Janney that I wanted to watch. I expected a silly pseudo-saccharine mother-daughter show, something like a less quippy Gilmore Girls . Why I thought that, I couldn't tell you, but Mom is definitely not sweet. It doesn't hold your hand. It's harsh and fairly dark and tries to make its characters unlikeable. Unfortunately, you can't not like Allison Janney. She is simply wonderful. She plays Bonnie, the worst mother ever who is trying to mend her relationship with her daughter and, in turn, grandchildren. Bonnie's daughter, Christy, is no angel either, following a similar path of destruction until she decided to get her act together. And that's kind of what the show is about. As I said, I've watched some but not all of this debut season, so there's time for more plot to be added. (There are a few little twists that I'm leaving out, but that's to minimize spoilers.) As far as Chuck Lorre shows go, I think Mom is the one that is the best written. It may not be as "ha-ha" funny as shows like Two and a Half Men and The Big Bang Theory try to be, but it is darkly comedic, funny in a warped way. So if you're twisted enough to appreciate its tone, then you'll probably enjoy Mom.
#16. Mad About You: Season One
Mad About You deals with both the trappings and the realities of marriage, those earliest bright-eyed moments along with the pitfalls and obstacles that most must defy. Newlyweds Paul Buchman and Jamie Stemple deal with their conflicting opinions through that first whirlwind year in the first season. They deal with everything, from the typical -- which side of the bed, the emotional weight of the first joint furniture purchase, conflicts over in-laws and the still-single pair of her sister and his best friend -- to the distinctly unique -- from the need to not be boring to disagreements over cumin, from the refusal to give up their old apartment to the deceptive merits of a nutpick. I found it eerily accurate in some ways, but a tad overly dramatic in others. Still, it was nice to watch another decent nineties sitcom, which is where I endlessly return to find most of my entertainment ( Roseanne and Friends being two of my all-time favourites). Since I never discovered Mad About You when it aired, watching it for the first time now is a trip down memory lane, the nostalgic calm before the storm that is the twenty-first century. The pace is slower in that nice comfortable way that the nineties allowed for the world, a world full of Bill Clinton and Gene Siskel and Regis and Kathie Lee. It's in this realm that supporting characters like Mark and Fran Devenow thrive, which are easily the most entertaining duo that are supposed to be unlikable social parasites, akin to Janice -- oh my God! -- from Friends. There's no room for nuisances anymore; times have changed. That has to be one of the strongest elements of Mad About You -- the right place, the right time. If magically transported forward through the decades, I would estimate that Jamie and Paul's marriage would probably be the same today, but the world that surrounds them is most certainly different, and it sure is nice to slip into that pre-Giuliani "final frontier" New York world.
#17. The SpongeBob Movie: Sponge Out of Water
I've always been a fan of that show, a clever animated series aimed at little ones but funny enough for their parents. I also love time travel movies. A perfect hybrid is found here. Besides, who can resist SpongeBob? Visually dynamic, I can only imagine that it was a spectacular film to see in theatres.
#18. Selma
A moving civil rights film that didn't pull its punches, Selma was better than I expected. The trailers were preachy or, oddly enough, bombastic, but the film was neither. In truth, I am not sure what to say about Selma. It's not as good as other black history films or series, like Roots or The Color Purple , but it is still a decent film. It finds an obvious villain in the Governor Wallace and is able to shake its audience into caring passionately about the fate of its characters, even the minor ones. It is shocking and brutal at times. Unfortunately, it is honest. Horrible things did happen and Selma won't shy away. I'm glad director Ava DuVernay made that choice. For its truthful depictions and moving narrative, I would recommend it.
#19. The Imitation Game
War is a horrible thing and anything done to prevent or abbreviate it is a wonderful thing. Alan Turing did wonderful things. A mathematical genius with severe social awkwardness, Turing didn't make friends easily. He didn't play well with the other boys and girls. Still, against all odds, he worked with a team of cryptologists to break the impenetrable Enigma Code used by the Nazis and put an end to the Second World War. Hellbent on developing a sophisticated machine to do the job that human minds could not, Turing revolutionized the world, but this film focuses on more than just his groundbreaking work. The Imitation Game slides through time -- Turing's formative prewar years, his achievements during that critical at-war period, and the subsequent investigation of him by determined police officers. While The Imitation Game is not the greatest film of the "mathematical genius working for the government" variety, it is still a strong showing nonetheless. For anyone interested in WWII, cryptography, or Turing himself, I recommend it.
#20. Gone Baby Gone
Ben Affleck is slowly becoming one of my favourite directors. I've seen The Town and, of course, Argo , which I loved, but I hadn't seen his directorial debut, Gone Baby Gone. Directing his brother Casey in the lead role, Gone Baby Gone focuses on the case of a missing little girl in a crummy neighbourhood whose citizens refuse to cooperate with the police. Little bits of information come out, slowly revealed, which adds to the suspense until the twist ending that I honestly didn't see coming. I thought it was good -- not as entertaining as Argo, but entertaining nonetheless. Affleck truly deserves some recognition for his consistently strong output. I don't care if he's a bad Batman; he's a great director.
#21. The Shipping News
A truly Canadian film based on a truly Canadian book, I was moved by The Shipping News. I can't explain it. It feels deeply rooted in me somehow, despite not being a Newfoundlander. The Shipping News is a father-daughter tale of sadness and rebirth. Julianne Moore's performance (there she is again!) is incredible as the single mother of a challenged young son; Kevin Spacey is equally good as the father of an emotionally raw little girl. Judi Dench knocks it out of the park, which is just what Judi Dench does. The Shipping News is a thing to behold. That being said, I do understand why some people won't take to a film like this, especially those who aren't Canadian. It might feel too personal, too unique geographically, and thus not relatable.
#22. Our Idiot Brother
What would you do for Willie Nelson? A solidly entertaining flick about the black sheep of the family, Our Idiot Brother uplifts and makes you reexamine how you evaluate true worth in this world. Three sisters, with vastly different personalities, welcome back their brother into their life when he returns home from a short prison stay. It's not a flawless film, but it's a decent watch.
#23. Into the Woods
Less in the musical style of films like Chicago and more along the lines of the sing-talking Les Mis , Into the Woods weaves a fantasy tale that combines elements of several beloved fables, like Rapunzel, Jack and the Beanstalk, and Little Red Riding Hood. The story is simple: The evil witch (the next-door neighbour, of course) strikes a deal with the baker and his wife to return to them the fertility she took in a curse on his ancestors. All they must do is get her four items: the red cape (from Little Red Riding Hood), a gold slipper (from Cinderella's foot), a white cow (from Jack who must sell it at market), and locks of corn-coloured hair (from Rapunzel, whom the Witch locked up in a tower). Ultimately, the stories are the same, so we can guess what will come of each, but the baker's journey ties them altogether. The film has its ups and downs. It wasn't all that dazzling visually, looking a lot like the set of Twilight. The sing-song conversations can become grating, especially when they could just as easily speak plainly. (I understand it's trying to stay true to the stage original, but that adjustment alone could vastly improve this adaptation.) That being said, the female empowerment angle -- Cinderella feeling unfulfilled by her prince, the baker's wife insisting on helping her husband to lift the spell, etc. -- is an interesting twist and adds dimension to the same flat stories we've heard time and again. Even Little Red Riding Hood seems more tenacious. As far as musicals go, it's only mediocre. If you're not a fan of the sing-song kind of thing, Into The Woods won't change your mind.
#24. Raising Hope: Season One
Jimmy Chance has the cards stacked against him. He works for his father's lawn-care business, lives with his nutty family, and can't woo his unrequited love, Sabrina from the grocery store. Oh, and after a lightning-quick romance in the back of a van with a murderess, he's now the father of a one-year-old daughter. It takes a village, though, which is why Raising Hope walks through the day-to-day goings-on of Jimmy and his family, a less-than-brilliant ragtag team dragging up little baby Hope. With the mega-talented comediennes Emmy-nominated Martha Plimpton and Cloris Leachman as Jimmy's mother and great-grandmother, Raising Hope tackles germaphobia, health insurance, senile dementia, vasectomies, and wills with the trademark trailer-trash humour the Chances do so well. If you can get past the rough-around-the-edges trimmings of lower-lower-lower-lower-middle-class life, it's well worth the watch.
#25. Northern Exposure: Season One
What happens when you're truly stuck in a town you're dying to leave? A young doctor who took an Alaskan scholarship is fresh out of med school and has to repay his debts by practicing for four years in the city that sponsored him. However, with an overabundance of doctors in Anchorage, he is sent instead to the picturesque village of Cicily on the so-called "Alaskan Riviera". However, things aren't as they seem. When Dr. Joel Fleischman arrives, it's not long before he's desperate to leave, but it seems impossible to cut through the red tape and return to his native New York. This short and sweet debut season was a network midseason replacement, which explains its brevity, but it doesn't make it any less impactful. The beauty of Northern Exposure is that Joel is a fish out of icy water. The position he's in isn't comfy because of the quirky denizens: Maggie, the self-sufficient bush pilot who constantly challenges Joel's arrogance; Maurice, the former astronaut who owns most of the town; Chris, the ex-convict DJ who bathes in the lake and speaks his mind on-air; Ed, a half-Native film buff who becomes an instant friend of Joel's, whether he likes it or not; Marilyn, Joel's receptionist who doesn't believe in appointment books and uses her words sparingly; Holling and Shelley, happily unmarried Canadian bar owners with a major age gap; and Ruth-Anne, the old biddie who runs the general store and library with gusto. These characters are so well formed and interesting that they feel real. That probably explains the load of awards Northern Exposure netted in their first few seasons. Dealing equally with big ideas like self-reliance and legacy and smaller situations like hunting a bear or running a radio show, I thoroughly enjoyed the eight episodes that constitute their first season.
(To Be Continued...)
#1. Deux Jours, Une Nuit
A French film to kick it off. How snobby. Deux Jours, Une Nuit was one of those films I'd heard about, knew the basic idea, and felt like there was a hum coming from it. Emphasis on the word hum. Not buzz. A buzz would be too loud. What La Vie en Rose had would be buzz, another film from French actress Marion Cotillard. Now the story was fairly simple. A woman named Sandra who was suffering from depression and had to take leave from work is suddenly faced with the possibility that she will lose her job. A meddling foreman pressures the employees to choose a nice bonus over their colleague in hopes that Sandra will be fired and the economic burden on the company will be lifted. However, instead of simply terminating her, they put it to a vote, but when the vote is compromised by the aforementioned foreman, Sandra manages to ask for a recount and has two days and a night (or, in French, deux jours et une nuit, as the title suggests) to get the votes together for the secret ballot on the Monday morning. To put it mildly, the film itself is the same conversation a dozen times. There is very little substance past that. But it is the emotion you feel pouring out of its actors that will determine if you like the film. If you can sense the rawness from each performance, the desperation and the sorrow and the surprising moments of joy and everything else all mixed in, then you stand a chance of enjoying it. Deux Jours, Une Nuit is a slice of life film and I don't think it will appeal to everyone, but I think that, if you're the type of person willing to sit down and read the subtitles (or simply watch and understand, if you're Francophone) for an hour and a half, then you stand a pretty solid chance of enjoying it.
#2. Inside Amy Schumer
In an act of true generosity, the first DVD release for this show includes both the first and second season. It is a variety show, something that normally wouldn't appeal to me and simply scare me off. But I figured I'd give it a shot. I already knew Amy -- slightly acquainted but not well versed, I'd say -- from her time on Last Comic Standing . Her show combines sketches, some of which are perfectly honest and others that are spot-on satires, with her edgy stand-up and hilarious interviews with both people on the street and professionals from different walks of life. On the first disc alone, Amy interviews a plastic surgeon, a professional dancer, a stripper, an ex-cop turned bodyguard, a supermodel, and the, uh, proud owner of Mr. Manhattan. Of everything this show offers, my favourite parts are always the interviews, which are categorized under the wink-wink section of the show entitled "Amy Goes Deep." If she were to spin off that section of the show alone, I would watch every bit of it. So, to put it bluntly, I've found a variety show that I can not only tolerate but actually derive pleasure from, which is no small feat. As for Amy? Well, with a show like this and a film like Trainwreck, the force is strong in this one.
#3. Fifty Shades of Grey
Boy, nobody wanted this adaptation made, did they? Well, I did not read the books and have no intention to do so, but I must praise Dakota Johnson for her nuanced performance here. (I just reread what I wrote. It sounds sarcastic, but I promise it's not.) The Christian Grey character felt weak, which is not what you want from this type of character. He should be strong and imposing and tall, dark, and handsome, and . . . just not that actor at all. Dakota gives oomph to her character. Without her, the film would be -- ahem -- flaccid. (I get one joke. Give me at least one!) From the reaction of audiences, the Fifty Shades movie wasn't the sex fantasy everyone had hoped for, hindered by an R-rating, but by taming down the S&M, I enjoyed the softer side of their relationship. The more emotional undercurrents showed a little, which I think was beneficial, and I think most viewers would have responded to that, had it been any other movie but this one with all its panty-dropping hype. And I love the soundtrack. A good soundtrack is key to set the mood. I think it was able to do just that for Fifty Shades of Grey. Overall, I think it's a great start to the trilogy (I assume that they'll make all three films, but who knows? I've been fooled before) and I will definitely watch the next one.
#4. The Boy Next Door
Oh, wow. The less said about this one, the better. I'm almost embarrassed to have admitted watching this. And I just said how much I liked Fifty Shades of Grey. The Boy Next Door is so bad that I have nothing to say. I feel bad for J. Lo. for being in it. I long for the days when she was in tasteful thrillers, like Out of Sight . The Boy Next Door is boring and slow and ridiculously overslathered gunk. I recommend that nobody watch it. You can't get that time back.
#5. Scarface
Believe it or not, I had never seen Scarface. I know that is sacrilege in some circles. I do apologize. Scarface is one of those films where so much has already been said that I feel I have nothing to add. Here are my two cents (with inflation, worth less than one cent in today's dollars): It is a classic, no question, but with classics, I expect a serious tone. Sure, the story to Scarface is serious, borderline heartbreaking at times, but you can't deny that there is an unintentionally hilarious streak running through it, owing to Pacino's over-the-top performance as Tony Montana. I absolutely enjoyed it with my only complaint being that the ending is severely abrupt. I know everyone loves the ultra-violent ending. Again, sacrilege. But I'd already seen it -- hasn't everybody? The ending is so widespread in pop culture that everyone knows it by the time they get around to watching the film as a whole. But I won't drag down Scarface. No, I think anyone who can handle the language and drug use and violence will probably enjoy it.
#6. What Lies Beneath
What Lies Beneath was recommended to me as one of the great forgotten horrors. It's spooky, not stupid, or so I was told. You want it straight? I was lied to. My disappointment was apparent. I insist that there is a good movie buried in there. Unfortunately, it's buried deep. Instead of being a psychological drama or even simply a run-of-the-mill thriller, What Lies Beneath falls victim to a lot of spooky hooey and choreographed jump scares. Editing and a few rewrites may have solved the whole debacle. I even started rewriting the script myself. There is a car accident leading the protagonist Claire to lose her memory. Claire also happens to be a former musician, classically trained and once brilliant. But the story mentions the latter fact and then does nothing with it. Considering the suspense the film wanted, I thought they could have tied together these facts. As Claire is slowly remembering what happened, she could have started playing her instrument again. Bit by bit, she remembers; note by note, she plays. What a missed opportunity. And it all seems to build up to those last few thrilling minutes of the film, which suddenly become plagued with ridiculous resolutions, magical ones that are impossible in reality. The film was already damaged goods by this point. Why injure it even more? Now, I love Michelle Pfeiffer, and I always will, but what a stinker. Let's pretend What Lies Beneath never happened.
#7. Big Eyes
I was excited when I saw this trailer. Amy Adams is going to win an Oscar, I said. So when I had the opportunity to sit down and watch Big Eyes, I was ready. Maybe, this time, it's not the film's fault, but mine. My expectations were too high. We have an expression in my family -- you "Junoed" it. Juno , the 2007 film, was met with acclaim. I watched it; I liked it; I told everyone how great it was and how much they would love it, too, if they saw it. But when they did, they were expecting Citizen Kane . Juno could never meet their expectations. Hence, every time I oversell something, I've "Junoed" it for someone else. And this time, I "Junoed" Big Eyes based on one measly trailer. Big Eyes was interesting but not riveting. I felt sympathy for the artist Margaret Keane (especially with the knowledge that she is real, a person who suffered through this denial of her worth) and disgust at the behaviour of her money-grubbing husband, but it just didn't speak to me on an emotional level. I was greedy. I just wanted more, more, more from the film. Perhaps I'm just dead inside. Who knows? In the end, I didn't feel as invested in Big Eyes as I had hoped to be.
#8. Coneheads
Take what happened with Big Eyes. Now reverse it. Voila. This is Coneheads. Have you seen the cover for Coneheads? It tells you nothing. You see a man, a woman, and a teenage girl . . . and they have coneheads. That's it. So, it's about a family. That's all I had to go from. I wasn't exactly chomping at the bit. So, with a frown, I sat down and was ready for a disappointing Netflix experience. My bar was so low that Coneheads couldn't lose. Yet it surprised me. It wasn't the slime at the bottom of the barrel. It was light and fun and breezy and entertaining. I'm not the biggest Dan Aykroyd fan; I don't like Ghostbusters , despite multiple viewings. But I love Jane Curtin. And together, the two play excellent alien parents. (The coneheads are aliens!) They come to Earth and, without really cloaking their appearance, they fit in with their co-workers and neighbours. They have a baby. They get a house. No one notices their oddities except for Immigration. Coneheads is sweet and heartfelt; I laughed at the jokes and liked the characters. If you can suspend your disbelief that no one calls them out on being weird-looking, then I think you could enjoy this film, too. Coneheads has that wonderful laidback comedy feel of late-eighties/early-nineties films. Maybe if I'd watched SNL more, I would have had some sort of clue as to the film's plot or tone. Be willing to put aside your preconceptions for this one. Coneheads was a hit for me. I don't care what Rotten Tomatoes says.
#9. Still Alice
Alzheimer's disease terrifies me. Still Alice is more of a horror film than anything I can think of that's been released in recent years. The film explores the range of human emotion when an Alzheimer's diagnosis is given. You're not losing the person physically, but mentally they vanish. It is a different kind of death, a different kind of grieving, and it is an incurable kind at that. It's only getting attention recently, thanks to some brave outspoken people, like Seth Rogen, who are willing to rally for it where it matters. But let's go back to the movie. Played legitimately, Julianne Moore gives life to Alice Howland. As an audience, we're watching a person who has built their life around their intellectual prowess crumble bit by bit, having to learn to be somebody else, not the smart one, not the bright spark, but a person with a new kind of worth. You feel like a burden and then you forget yourself completely. You're lucid and then you're not. It is a complicated tightrope to do a performance like this, but Julianne does it with ease. No wonder she won the Oscar. I love Julianne and, although it's not my favourite performance of hers (I am guilty of enjoying Nine Months a little too much), it is definitely one of her best. I enjoyed Still Alice because of her and would eagerly recommend it.
#10. Bob's Burgers
I'm fed up with Family Guy. Often aired together as an animated hour or two of laughs on TV, I was afraid that Bob's Burgers would be like Family Guy. It isn't. They're nothing alike. They both deal with families, but that's where the line is drawn. A quick rundown: Bob Belcher runs Bob's Burgers, a greasy spoon restaurant, and he does it with the help of his family. That includes his supportive wife Linda and their three children, Tina, Gene, and Louise. The children are usually the weakest part of family sitcoms, but that is far from the case on Bob's Burgers. Tina is the eldest of the three, dealing with puberty while being overwhelmingly awkward in social situations. She encapsulates the ridiculous behaviour of a teen without annoying anyone. She tries the trends, including dance fighting and slow dancing. She's fairly realistic, whether we care to admit it or not. Gene is the middle child, a rambunctious boy who likes loud noises and big messes. Still, he tries to do his best. Then, there's Louise, the youngest child who is wise to everything. Her precocious mouth gets them into trouble sometimes since she uses her innocence to wreak havoc on those who don't know any better. She often changes the menu to include foul language and even brings home the school counselor with tall tales of a rocky family life. I loved the first season and plan on indulging in the rest soon. For anyone who wants a taste of the show but isn't ready to sit down and watch it from the start, I recommend the episode, "Crawl Space," in which Bob hides in between the walls of his home to avoid visiting with his in-laws. This episode is so well crafted, filling every second with content and carefully tying in every character to avoid lazy B-plot. It even turns into a parody of The Shining at one point. Who can say no to that?
#11. Orange Is The New Black
Like everybody else, I love Orange Is The New Black. I loved Weeds, Jenji Kohan's first foray into women who go a little bad because of their circumstances. Orange Is The New Black is just as good, if not better. Piper Chapman, the supposed main character, is just a way to tell the stories of all its other characters, which the second and third season of the show made abundantly clear. Jenji even admitted herself that this was her plan all along. I watched the third season, which felt less exciting after the craziness of the sophomore showing, and since I liked it so much, I went back and watched season two again. What a great show. I won't say anything about it for those few who aren't already watching it. I'll just recommend -- nay, insist -- that you see it for yourself.
#12. Masters of Sex: Season Two
I loved the first season of Masters of Sex. What a clever show, I thought. It's like a naughty Mad Men. Then, I watched the second season. It felt shaky and undecided. Everybody I loved from the first season had evaporated. Masters and Johnson weren't enough to sustain me. The finale was okay, but it felt like it was pandering, trying to hold my interest with stupid cliffhangers until next season. I didn't go for it. I may or may not watch the premiere of the third season, but frankly, I don't really care anymore.
#13. The Mindy Project: Season Three
Are you kidding me? The series got cancelled this season and on what is arguably its most cliffhanger-heavy finale ever. If it had been cancelled after the second season, everything would be hunky-dory. But no. They chose this season to call it quits. Now, there is talk of a web series, but who knows how true they'll stay to the original? The adventures of Danny and Mindy had me absorbed. I loved Rhea Perlman's return to TV as Danny's overprotective mum. I liked Stephen Colbert's guest performance as Danny's priest. There was so much going on this season with Mindy alone that there was no room for cancellation. But the network didn't care and axed it anyway. Fingers crossed that the web series is just as good and that nothing -- and no one -- gets lost in the shift. Whoa nelly.
#14. Will & Grace
I watched Will & Grace reruns on occasion and often out of order. So, now I decided to start from the beginning and watch it as it was meant to be seen. I find that I've loved a lot of shows that I used to hate by going back and watching them from the beginning; Seinfeld and the American version of The Office are two examples of shows that I ended up buying all the seasons to do just that. Will & Grace is funny always, but to get its full impact, it is meant to be seen in order. This especially becomes true at the end of the third season with storylines that carry into the fourth season and beyond. Their past adventures in the early seasons influence their actions, attitudes, and decisions in the later seasons. As one of the groundbreaking shows of the late nineties and early noughties, I respect this show for what it did, bringing laughter and joy as well as enlightenment to millions.
#15. Mom: Season One
I'm not sure whether to count this one. I've watched some but not all of the first season of Mom. In a book I wrote, Reel Talk: Irreverent Insights on Cinema and Television, I dove head first into Chuck Lorre's programming, but at the time, Mom wasn't even on the radar. So, when it came out, I was slightly curious. It was mostly for Allison Janney that I wanted to watch. I expected a silly pseudo-saccharine mother-daughter show, something like a less quippy Gilmore Girls . Why I thought that, I couldn't tell you, but Mom is definitely not sweet. It doesn't hold your hand. It's harsh and fairly dark and tries to make its characters unlikeable. Unfortunately, you can't not like Allison Janney. She is simply wonderful. She plays Bonnie, the worst mother ever who is trying to mend her relationship with her daughter and, in turn, grandchildren. Bonnie's daughter, Christy, is no angel either, following a similar path of destruction until she decided to get her act together. And that's kind of what the show is about. As I said, I've watched some but not all of this debut season, so there's time for more plot to be added. (There are a few little twists that I'm leaving out, but that's to minimize spoilers.) As far as Chuck Lorre shows go, I think Mom is the one that is the best written. It may not be as "ha-ha" funny as shows like Two and a Half Men and The Big Bang Theory try to be, but it is darkly comedic, funny in a warped way. So if you're twisted enough to appreciate its tone, then you'll probably enjoy Mom.
#16. Mad About You: Season One
Mad About You deals with both the trappings and the realities of marriage, those earliest bright-eyed moments along with the pitfalls and obstacles that most must defy. Newlyweds Paul Buchman and Jamie Stemple deal with their conflicting opinions through that first whirlwind year in the first season. They deal with everything, from the typical -- which side of the bed, the emotional weight of the first joint furniture purchase, conflicts over in-laws and the still-single pair of her sister and his best friend -- to the distinctly unique -- from the need to not be boring to disagreements over cumin, from the refusal to give up their old apartment to the deceptive merits of a nutpick. I found it eerily accurate in some ways, but a tad overly dramatic in others. Still, it was nice to watch another decent nineties sitcom, which is where I endlessly return to find most of my entertainment ( Roseanne and Friends being two of my all-time favourites). Since I never discovered Mad About You when it aired, watching it for the first time now is a trip down memory lane, the nostalgic calm before the storm that is the twenty-first century. The pace is slower in that nice comfortable way that the nineties allowed for the world, a world full of Bill Clinton and Gene Siskel and Regis and Kathie Lee. It's in this realm that supporting characters like Mark and Fran Devenow thrive, which are easily the most entertaining duo that are supposed to be unlikable social parasites, akin to Janice -- oh my God! -- from Friends. There's no room for nuisances anymore; times have changed. That has to be one of the strongest elements of Mad About You -- the right place, the right time. If magically transported forward through the decades, I would estimate that Jamie and Paul's marriage would probably be the same today, but the world that surrounds them is most certainly different, and it sure is nice to slip into that pre-Giuliani "final frontier" New York world.
#17. The SpongeBob Movie: Sponge Out of Water
I've always been a fan of that show, a clever animated series aimed at little ones but funny enough for their parents. I also love time travel movies. A perfect hybrid is found here. Besides, who can resist SpongeBob? Visually dynamic, I can only imagine that it was a spectacular film to see in theatres.
#18. Selma
A moving civil rights film that didn't pull its punches, Selma was better than I expected. The trailers were preachy or, oddly enough, bombastic, but the film was neither. In truth, I am not sure what to say about Selma. It's not as good as other black history films or series, like Roots or The Color Purple , but it is still a decent film. It finds an obvious villain in the Governor Wallace and is able to shake its audience into caring passionately about the fate of its characters, even the minor ones. It is shocking and brutal at times. Unfortunately, it is honest. Horrible things did happen and Selma won't shy away. I'm glad director Ava DuVernay made that choice. For its truthful depictions and moving narrative, I would recommend it.
#19. The Imitation Game
War is a horrible thing and anything done to prevent or abbreviate it is a wonderful thing. Alan Turing did wonderful things. A mathematical genius with severe social awkwardness, Turing didn't make friends easily. He didn't play well with the other boys and girls. Still, against all odds, he worked with a team of cryptologists to break the impenetrable Enigma Code used by the Nazis and put an end to the Second World War. Hellbent on developing a sophisticated machine to do the job that human minds could not, Turing revolutionized the world, but this film focuses on more than just his groundbreaking work. The Imitation Game slides through time -- Turing's formative prewar years, his achievements during that critical at-war period, and the subsequent investigation of him by determined police officers. While The Imitation Game is not the greatest film of the "mathematical genius working for the government" variety, it is still a strong showing nonetheless. For anyone interested in WWII, cryptography, or Turing himself, I recommend it.
#20. Gone Baby Gone
Ben Affleck is slowly becoming one of my favourite directors. I've seen The Town and, of course, Argo , which I loved, but I hadn't seen his directorial debut, Gone Baby Gone. Directing his brother Casey in the lead role, Gone Baby Gone focuses on the case of a missing little girl in a crummy neighbourhood whose citizens refuse to cooperate with the police. Little bits of information come out, slowly revealed, which adds to the suspense until the twist ending that I honestly didn't see coming. I thought it was good -- not as entertaining as Argo, but entertaining nonetheless. Affleck truly deserves some recognition for his consistently strong output. I don't care if he's a bad Batman; he's a great director.
#21. The Shipping News
A truly Canadian film based on a truly Canadian book, I was moved by The Shipping News. I can't explain it. It feels deeply rooted in me somehow, despite not being a Newfoundlander. The Shipping News is a father-daughter tale of sadness and rebirth. Julianne Moore's performance (there she is again!) is incredible as the single mother of a challenged young son; Kevin Spacey is equally good as the father of an emotionally raw little girl. Judi Dench knocks it out of the park, which is just what Judi Dench does. The Shipping News is a thing to behold. That being said, I do understand why some people won't take to a film like this, especially those who aren't Canadian. It might feel too personal, too unique geographically, and thus not relatable.
#22. Our Idiot Brother
What would you do for Willie Nelson? A solidly entertaining flick about the black sheep of the family, Our Idiot Brother uplifts and makes you reexamine how you evaluate true worth in this world. Three sisters, with vastly different personalities, welcome back their brother into their life when he returns home from a short prison stay. It's not a flawless film, but it's a decent watch.
#23. Into the Woods
Less in the musical style of films like Chicago and more along the lines of the sing-talking Les Mis , Into the Woods weaves a fantasy tale that combines elements of several beloved fables, like Rapunzel, Jack and the Beanstalk, and Little Red Riding Hood. The story is simple: The evil witch (the next-door neighbour, of course) strikes a deal with the baker and his wife to return to them the fertility she took in a curse on his ancestors. All they must do is get her four items: the red cape (from Little Red Riding Hood), a gold slipper (from Cinderella's foot), a white cow (from Jack who must sell it at market), and locks of corn-coloured hair (from Rapunzel, whom the Witch locked up in a tower). Ultimately, the stories are the same, so we can guess what will come of each, but the baker's journey ties them altogether. The film has its ups and downs. It wasn't all that dazzling visually, looking a lot like the set of Twilight. The sing-song conversations can become grating, especially when they could just as easily speak plainly. (I understand it's trying to stay true to the stage original, but that adjustment alone could vastly improve this adaptation.) That being said, the female empowerment angle -- Cinderella feeling unfulfilled by her prince, the baker's wife insisting on helping her husband to lift the spell, etc. -- is an interesting twist and adds dimension to the same flat stories we've heard time and again. Even Little Red Riding Hood seems more tenacious. As far as musicals go, it's only mediocre. If you're not a fan of the sing-song kind of thing, Into The Woods won't change your mind.
#24. Raising Hope: Season One
Jimmy Chance has the cards stacked against him. He works for his father's lawn-care business, lives with his nutty family, and can't woo his unrequited love, Sabrina from the grocery store. Oh, and after a lightning-quick romance in the back of a van with a murderess, he's now the father of a one-year-old daughter. It takes a village, though, which is why Raising Hope walks through the day-to-day goings-on of Jimmy and his family, a less-than-brilliant ragtag team dragging up little baby Hope. With the mega-talented comediennes Emmy-nominated Martha Plimpton and Cloris Leachman as Jimmy's mother and great-grandmother, Raising Hope tackles germaphobia, health insurance, senile dementia, vasectomies, and wills with the trademark trailer-trash humour the Chances do so well. If you can get past the rough-around-the-edges trimmings of lower-lower-lower-lower-middle-class life, it's well worth the watch.
#25. Northern Exposure: Season One
What happens when you're truly stuck in a town you're dying to leave? A young doctor who took an Alaskan scholarship is fresh out of med school and has to repay his debts by practicing for four years in the city that sponsored him. However, with an overabundance of doctors in Anchorage, he is sent instead to the picturesque village of Cicily on the so-called "Alaskan Riviera". However, things aren't as they seem. When Dr. Joel Fleischman arrives, it's not long before he's desperate to leave, but it seems impossible to cut through the red tape and return to his native New York. This short and sweet debut season was a network midseason replacement, which explains its brevity, but it doesn't make it any less impactful. The beauty of Northern Exposure is that Joel is a fish out of icy water. The position he's in isn't comfy because of the quirky denizens: Maggie, the self-sufficient bush pilot who constantly challenges Joel's arrogance; Maurice, the former astronaut who owns most of the town; Chris, the ex-convict DJ who bathes in the lake and speaks his mind on-air; Ed, a half-Native film buff who becomes an instant friend of Joel's, whether he likes it or not; Marilyn, Joel's receptionist who doesn't believe in appointment books and uses her words sparingly; Holling and Shelley, happily unmarried Canadian bar owners with a major age gap; and Ruth-Anne, the old biddie who runs the general store and library with gusto. These characters are so well formed and interesting that they feel real. That probably explains the load of awards Northern Exposure netted in their first few seasons. Dealing equally with big ideas like self-reliance and legacy and smaller situations like hunting a bear or running a radio show, I thoroughly enjoyed the eight episodes that constitute their first season.
(To Be Continued...)
No comments have been added yet.
